The Behavioral Science of Everyday Objects The chair holds the story of Cinema Paradiso, a seat for the history of cinema the lovers, clutching the stile as if the last straw on earth, before an orgasmic flood the burning ass above the flame of corporate deadline the writer staring at the blank screen, (a man in debt, out of excuses) the security guard at the hour of sleep, rocking to an invisible thread of poverty the king on one side and a thousand citizens on the other the political leader on air, suavely defending student killing the sinner at the sacrament of confession the uneasiness of a rare visitor at the old age home the visa applicant at the embassy table the job applicant at the interview table the convict at the interrogation table. the ghost of a tree stump, where you read your childhood comics the Rockaby seat of Samuel Beckett that oscillates between life and death the throne of a superstar at the salon for, say, a Robert Downey Jr. cut the lonely man returning home from his wife's funeral. The chair reminds the bare torso of a slave stooping for his master, the way fragile clouds bank on the stillness of lakes to look weighty trees engage in a seated protest, their green placards drowning in concrete, their dead leaves settle on the earth, a gigantic coffin. Bio: Aditya Shankar is an Indian poet, and translator. His poems and translations have appeared or is forthcoming in the Indian Literature, Modern Poetry in Translation, The Little Magazine, Canada Quarterly, The After Happy Hour Review, Terracotta Typewriter, The Four Quarters Magazine, Verbalart, Hudson View, CHEST, Chandrabhaga, Muse & Murmur, SAARC Anthology (Songs from the Sea Shore), and elsewhere. Books: After Seeing (2006), Party Poopers (2014), Tiny Judges Shall Arrive (Translation, Forthcoming). He lives in Bangalore, India.
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